West-Teen Angst: GUNMAN’S WALK (Columbia 1958)


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GUNMAN’S WALK may not be a classic Western like THE SEARCHERS or HIGH NOON, but it was entertaining enough to hold my interest. That’s due in large part to a change of pace performance by All-American 50’s Teen Idol Tab Hunter as a sort-of Rebel Without A Cause On The Range, an unlikable sociopath with daddy issues, aided and abetted by Phil Karlson’s taut direction and some gorgeous panoramic Cinemascope shots by DP Charles Lawton Jr.

Boisterous cattle rancher Lee Hackett (Van Heflin) is one of those Men-Who-Tamed-The-West types, a widower with two sons. Eldest Ed (Hunter) is a privileged, racist creep who’s obsessed with guns, while younger Davy (played by another 50’s Teen Idol, James Darren) is more reserved. The Hacketts are about to embark on a wild horse round-up, and enlist two half-breed Sioux, the brothers of pretty young Clee (Kathryn Grant,  young wife of crooner Bing Crosby).

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New York After Midnight: 99 RIVER STREET (United Artists 1953)


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The trio that brought you KANSAS CITY CONFIDENTIAL – star John Payne, director Phil Karlson, and producer Edward Small – teamed again for 99 RIVER STREET, and while it’s not quite on a par with their film noir classic, it’s crammed with enough sex’n’violence to hold your interest for an hour and a half. Karlson’s direction is solid, as is the cast (including a knockout performance by Evelyn Keyes), and the camerawork of the great Austrian cinematographer Franz Planer gives it a wonderfully brooding touch of darkness.

The story itself is highly improbable yet highly entertaining: ex-boxer Ernie Driscoll (Payne), once a heavyweight contender now reduced to driving a cab, is married to ex-showgirl Pauline (the delectable Peggie Castle), who’s two-timing him with crook Victor Rawlins (slimebag Brad Dexter ). Ernie catches them making out through the window of the flower shop Pauline works at, and his PTSD is triggered…

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Rockin’ in the Film World #13: Elvis Presley in KID GALAHAD (United Artists 1962)


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Let’s face it – with a handful of exceptions, most of Elvis Presley’s  post-Army 1960’s movies are awful. They follow a tried-and-true formula that has The King in some colorful location torn between two (or more!) girls, some kind of vocational gimmick (race car driver, scuba diver), and a handful of forgettable songs. KID GALAHAD is one of those exceptions; although it does follow the formula, it’s redeemed by a stellar supporting cast, a fair plot lifted from an old Warner Brothers film, and a well choreographed and edited final boxing match.

The movie’s very loosely based on 1937’s KID GALAHAD, a boxing/gangster yarn that starred Edward G. Robinson, Bette Davis, Humphrey Bogart, and Wayne Morris in the role now played by and tailored for Presley. He’s a young man fresh out of the Army (how’s that for typecasting?) who returns to his upstate New York hometown of Cream Valley…

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The Perfect Crime Film: KANSAS CITY CONFIDENTIAL (United Artists 1952)


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My friend Rob suggested I review KANSAS CITY CONFIDENTIAL awhile back, and I’m sorry I waited so long. This is a film noir lover’s delight, packed with tension, violence, double-crosses, and a head-turning performance by John Payne in the lead. Made on an economical budget like the same year’s THE NARROW MARGIN , director Phil Karlson and George Diskant create a shadowy, claustrophobic atmosphere brimming with danger at every turn.

I knew Payne mainly from his 40’s musicals and his idealistic lawyer opposite Maureen O’Hara in MIRACLE ON 34TH STREET, but he’s a revelation here as Joe Rolfe, a florist truck driver who’s set up as a patsy by a gang of armored car robbers. He can dish out (and take) beatings with the best them, and delivers the tough-talking dialog with aplomb. KANSAS CITY CONFIDENTIAL helped Payne shed his lightweight image, and he went on to do other dark crime films and rugged…

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Secret Agent Double-O Dino: THE SILENCERS (Columbia 1966)


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Out of all the James Bond-inspired spy spoofs made in the Swingin’ 60’s, one of the most popular was Dean Martin’s Matt Helm series. Based on the novels of Donald Hamilton, the films bore little resemblance to their literary counterparts, instead relying on Dino’s Booze & Girlies Rat Pack Vegas persona. First up was 1966’s THE SILENCERS, chock full of gadgets, karate chops, and beautiful babes, with sexual innuendoes by the truckload.

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Our Man Matt is a semi-retired agent of ICE (Intelligence and Counter-Espionage) living in a Playboy Mansion-style pad, and working as a globe-trotting photographer. He’s luxuriating in his bubble bath pool with sexy secretary Lovey Kravezit (“Lovey Kravezit? Oh that’s some kinda name!”) when former boss Mac Donald calls. Evil spy organization Big O (Bureau for International Government and Order) is once again plotting world domination, and the reluctant Helm is pulled back into service.

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Matt is teamed with his former partner Tina…

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Cleaning Out the DVR Pt 9: Film Noir Festival Redux


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Welcome back to the decadently dark world of film noir, where crime, corruption, lust, and murder await. Let’s step out of the light and deep into the shadows with these five fateful tales:

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PITFALL (United Artists 1948, D: Andre DeToth) Dick Powell is an insurance man who feels he’s stuck in a rut, living in safe suburbia with his wife and kid (Jane Wyatt, Jimmy Hunt). Then he meets hot model Lizabeth Scott on a case and falls into a web of lies, deceit, and ultimately murder. Raymond Burr  costars as a creepy PI who has designs on Scott himself. A good cast in a good (not great) drama with a disappointing ending. Fun Fact: The part of Scott’s embezzler boyfriend is played by one Byron Barr, who is not the Byron Barr that later changed his name to Gig Young.  

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THE BRIBE (MGM 1949, D:Robert Z. Leonard) Despite an…

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Embracing the Melodrama Part II #46: Walking Tall (dir by Phil Karlson)


Walking_Tall_(1973_film)About 50 minutes into the 1973 film Walking Tall (not to be confused with the 2005 version that starred Dwayne Johnson), there’s a scene in which newly elected sheriff Buford Pusser (Joe Don Baker) gives a speech to his deputies.  As the deputies stand at attention and as Pusser announces that he’s not going to tolerate any of his men taking bribes from the Dixie Mafia, the observant viewer will notice something out-of-place about the scene.

Hovering directly above Baker’s head is a big, black, almost phallic boom mic.  It stays up there throughout the entire scene, a sudden and unexpected reminder that — though the film opens with a message that we’re about to see the true story of “an American hero” and though it was filmed on location in rural Tennessee — Walking Tall is ultimately a movie.

And yet, somehow, that phallic boom mic feels oddly appropriate.  First off, Walking Tall is an almost deliberately messy film.  That boom mic tells us that Walking Tall was not a slick studio production.  Instead, much like Phil Karlson’s previous The Phenix City Story, it was a low-budget and violent film that was filmed on location in the south, miles away from the corrupting influence of mainstream, yankee-dominated Hollywood.  Secondly, the phallic implications of the boom mic erases any doubt that Walking Tall is a film about men doing manly things, like shooting each other and beating people up.  Buford does have a wife (Elizabeth Hartman) who begs him to avoid violence and set a good example of his children.  However, she eventually gets shot in the back of the head, which frees Buford up to kill.

As I said earlier, Walking Tall opens with a message telling us that we’re about to watch a true story.  Buford Pusser is a former football player and professional wrestler who, after retiring, returns to his hometown in Tennessee.  He quickly discovers that his town is controlled by criminals and moonshiners.  When he goes to a local bar called The Lucky Spot, he is unlucky enough to discover that the bar’s patrons cheat at cards.  Buford is nearly beaten to death and dumped on the side of the road.  As Buford begs for help, several motorists slow down to stare at him before then driving on.

Obviously, if anyone’s going to change this town, it’s going to have to be Buford Pusser.

Once he recovers from his beating, Buford makes himself a wooden club and then goes back to the Lucky Spot.  After beating everyone up with his club, Buford takes back the money that he lost while playing cards and $50.00 to cover his medical bills.  When Buford is put on trial for armed robbery, he takes the stand, rips off his shirt, and shows the jury his scars.  Buford is acquitted.

Over his wife’s objections, Buford decides to run for sheriff.  The old sheriff, not appreciating the competition, attempts to assassinate Buford but, instead, ends up dying himself.  Buford is charged with murder.  Buford is acquitted.  Buford is elected sheriff.  Buford sets out to clean up his little section of Tennessee.  Violence follows…

On the one hand, it’s easy to be snarky about a film like Walking Tall.  This is one of those films that operates on a strictly black-and-white world view.  Anyone who supports Buford is good.  Anyone who opposes Buford is totally evil.  Buford is a redneck saint.  It’s a film fueled by testosterone and it’s not at all subtle…

But dangit, I liked Walking Tall.  It’s a bit like a right-wing version of Billy Jack, in that it’s so sincere that you can forgive the film’s technical faults and frequent lapses in logic.  Walking Tall was filmed on location in Tennessee and director Phil Karlson makes good use of the rural locations.  And, most importantly, Joe Don Baker was the perfect actor to play Buford Pusser.  As played by Baker, Pusser is something of renaissance redneck.  He’s a smart family man who knows how to kick ass and how to make his own weapons.  What more could you ask for out of a small town sheriff?

In real life, Buford Pusser died in a mysterious car accident shortly after the release of Walking Tall.  Cinematically, the character of Buford Pusser went on to star in two more films.